Sonkomose’s Barbourfields Performance Marks a Turning Point in Zimbabwe’s Cultural Poetry Landscape
For celebrated poetess Sonkomose, the National Culture Month commemorations held last month at Bulawayo’s Barbourfields Stadium became a defining moment in her artistic journey. The event, attended by President Emmerson Mnangagwa and thousands of participants from across Zimbabwe, created a powerful platform for cultural expression and national unity. It brought together traditional leaders, Government officials, artistes, cultural groups and exhibitors in a large-scale celebration of Zimbabwe’s heritage. For Sonkomose, the occasion carried deep personal meaning and marked a milestone in her growth as a praise poet. She describes the experience as both humbling and affirming of her cultural responsibility.
The commemorations were designed to showcase Zimbabwe’s indigenous traditions through music, dance, food, fashion and visual arts. Barbourfields Stadium became a vibrant space where cultural identity was displayed in its many forms. Among the most memorable highlights was Sonkomose’s performance, where she used praise poetry to formally welcome the Head of State. The moment placed her at the centre of a national stage, where tradition and ceremony intersected with contemporary cultural expression. It also demonstrated the continued importance of oral literature in official national events.
Sonkomose has since reflected on the emotional and artistic demands of performing before such a large and distinguished audience. She explained that the experience required careful preparation and a strong understanding of cultural symbolism. Crafting the right words for the moment meant balancing respect, creativity and accuracy in her use of language. She highlighted the importance of engaging with totems and cultural references in a way that remained authentic and meaningful. The pressure of the occasion tested her skills, but also strengthened her confidence as a practitioner of praise poetry.
Her performance went beyond personal achievement and spoke to the wider relevance of indigenous storytelling traditions in modern Zimbabwe. Praise poetry continues to serve as a bridge between history and contemporary identity, preserving cultural memory through spoken word. Sonkomose’s appearance at the event positioned her among a growing number of female poets contributing to this evolving artistic space. Her work blends traditional performance styles with modern expression, allowing her to reach diverse audiences while maintaining cultural depth. This balance has become a defining feature of her artistic identity.
The National Culture Month commemorations themselves reflected broader national efforts to promote unity through cultural heritage. The event created space for both established and emerging artists to showcase their talents on a national platform. It also reinforced the idea that traditional performance arts remain relevant in shaping national identity. For many participants, the event was not only a celebration but also a reminder of the importance of preserving cultural knowledge. Sonkomose’s performance stood out as a powerful example of how poetry can still command attention in high-level national ceremonies.
Despite the significance of the occasion, Sonkomose is already focused on her next phase of creative work. She is currently developing new projects aimed at expanding the reach of spoken-word poetry within Zimbabwe and beyond. One of her upcoming works is a poem titled Kwela, a collaboration with Skidoo Flex and Mawiza, scheduled for release in mid-June. The piece forms part of a larger poetry album that is expected to be released in August. This project represents one of her most ambitious undertakings to date.
The upcoming album will feature collaborations with several respected regional artists, reflecting a growing trend of cross-border artistic exchange in Southern Africa. Sonkomose is planning to work with performers such as Mahlaba and Bhila, while discussions are also underway with South African slam poetry champion Lethu Nkwanyana. Additional contributors may join the project depending on scheduling and creative alignment. This collaborative approach highlights her commitment to expanding poetic expression beyond traditional boundaries. It also reflects the increasing fusion of poetry with music and performance art in contemporary African creative spaces.
Industry observers note that such projects are reshaping how poetry is consumed, particularly among younger audiences who engage with content through digital platforms. Spoken-word artistry is increasingly being presented in multimedia formats that combine sound, performance and visual storytelling. This shift is helping poetry reach wider audiences while maintaining its cultural significance. Sonkomose’s work sits within this transformation, balancing innovation with cultural preservation. Her approach reflects a broader evolution in how traditional art forms adapt to modern creative environments.
At the core of her work remains a strong commitment to storytelling and cultural heritage. Her performance at Barbourfields Stadium demonstrated how praise poetry continues to hold national importance in Zimbabwe. It also showed that traditional art forms can still resonate powerfully in contemporary settings. Through her ongoing projects, Sonkomose is helping to ensure that indigenous poetry remains both relevant and accessible. Her journey highlights the enduring power of words in preserving identity, history and collective memory.
